@ShimermanArmin is perhaps best known as Quark on the Star Trek: Deep Space Nine series. He has been working 50 years in the business and has 200 credits on IMDb. He's also done many voiceovers, video games, and commercials. Plus: a Shakespeare scholar, teacher, director, and actor. We talk about acting in high school, working at the Old Globe, finding a mentor on Broadway, and even dive into some Richard of Gloucester. This episode is brought to you by FreeMeditationCourse.com - start your journey today!
You wanted these text work sessions as separate episodes and I'm happy to accommodate! First up: @ShimermanArmin from Ep #2 takes us into Shakespeare's Henry VI, part 3 with Richard of Gloucester, a soliloquy Armin used for auditions. He also talks about his general approach to Shakespeare and some of the overall principles he teaches in classes. If you're following along, this speech is at the end of Act 3, Scene 2. Click here for show notes and more. See additional content on Facebook, Twitter, and Instagram. Armin’s Monologue from Henry VI, Part III (Act 3, Scene 2) by Shakespeare RICHARD OF GLOUCESTER Ay, Edward will use women honorably. Would he were wasted, marrow, bones, and all, That from his loins no hopeful branch may spring, To cross me from the golden time I look for! And yet, between my soul’s desire and me— The lustful Edward’s title buried— Is Clarence, Henry, and his son young Edward, And all the unlook’d-for issue of their bodies To take their rooms, ere I can place myself: A cold premeditation for my purpose! Why then I do but dream on sovereignty, Like one that stands upon a promontory And spies a far-off shore where he would tread, Wishing his foot were equal with his eye, And chides the sea that sunders him from thence, Saying, he’ll lade it dry to have his way: So do I wish the crown, being so far off, And so I chide the means that keeps me from it, And so, I say, I’ll cut the causes off, Flattering me with impossibilities. My eye’s too quick, my heart o’erweens too much, Unless my hand and strength could equal them. [ARMIN BEGINS HERE, AND CUTS LINES] Well, say there is no kingdom then for Richard; What other pleasure can the world afford? I’ll make my heaven in a lady’s lap, And deck my body in gay ornaments, And witch sweet ladies with my words and looks. O miserable thought! And more unlikely Than to accomplish twenty golden crowns! Why, love forswore me in my mother’s womb; And for I should not deal in her soft laws, She did corrupt frail nature with some bribe, To shrink mine arm up like a wither’d shrub, To make an envious mountain on my back, Where sits deformity to mock my body; To shape my legs of an unequal size, To disproportion me in every part, Like to a chaos, or an unlick’d bear-whelp That carries no impression like the dam. And am I then a man to be belov’d? O monstrous fault, to harbor such a thought! Then since this earth affords no joy to me But to command, to check, to o’erbear such As are of better person than myself, I’ll make my heaven to dream upon the crown, And whiles I live, t’ account this world but hell, Until my misshap’d trunk that bears this head Be round impaled with a glorious crown. And yet I know not how to get the crown, For many lives stand between me and home; And I—like one lost in a thorny wood, That rents the thorns, and is rent with the thorns, Seeking a way, and straying from the way, Not knowing how to find the open air, But toiling desperately to find it out— Torment myself to catch the English crown; And from that torment I will free myself, Or hew my way out with a bloody axe. Why, I can smile, and murder whiles I smile, And cry “Content” to that which grieves my heart, And wet my cheeks with artificial tears, And frame my face to all occasions. I’ll drown more sailors than the mermaid shall, I’ll slay more gazers than the basilisk, I’ll play the orator as well as Nestor, Deceive more slyly than Ulysses could, And like a Sinon, take another Troy. I can add colors to the chameleon, Change shapes with Proteus for advantages, And set the murderous Machevil to school. Can I do this, and cannot get a crown? Tut, were it farther off, I’ll pluck it down.
Harry Groener has three Tony Award nominations (Oklahoma, Cats, Crazy For You), and has also been a series regular on Dear John, and played Mayor Wilkins on Buffy the Vampire Slayer. Born in Germany and growing up in San Francisco, he got started with ballet, and then worked with PCPA and studied at the University of Washington. He has acted around the country in regional theatre and has over 80 credits on IMDb. This episode is brought to you by the FreeMeditationCourse.com - start your journey today!
Harry Groener from Ep. #4 talks text work on singing a Noel Coward song ("Mrs. Worthington") and performing King Lear's "Reason not the need" speech from Shakespeare's play. If you're following along, this speech is at the end of Act 2, Scene 4. He also shares ideas on how to make the most of your rehearsal time. Click here for full show notes and links. See additional content on Facebook, Twitter, and Instagram. Harry’s Monologue from King Lear (Act 2, Scene 4) by Shakespeare KING LEAR O, reason not the need! Our basest beggars Are in the poorest thing superfluous. Allow not nature more than nature needs, Man’s life is cheap as beast’s. Thou art a lady; If only to go warm were gorgeous, Why, nature needs not what thou gorgeous wear’st, Which scarcely keeps thee warm. But for true need— You heavens, give me that patience, patience I need! You see me here, you gods, a poor old man, As full of grief as age, wretched in both. If it be you that stirs these daughters’ hearts Against their father, fool me not so much To bear it tamely; touch me with noble anger, And let not women’s weapons, water-drops, Stain my man’s cheeks! No, you unnatural hags, I will have such revenges on you both That all the world shall—I will do such things— What they are yet I know not, but they shall be The terrors of the earth! You think I’ll weep: No, I’ll not weep. I have full cause of weeping, but this heart Shall break into a hundred thousand flaws Or ere I’ll weep. O Fool, I shall go mad!
Dakin Matthews is an actor, playwright, dramaturg, director, teacher, and scholar. He has 150+ credits on IMDb, has taught Shakespeare around the world, worked on Broadway and won awards, and was artistic director of several theatres—and he started out to be a priest! We talk about feeling confident and intimidated, why the classics are important, what being a professional means, and more. This episode is sponsored by Audible: get a free audiobook and a 30-day trial at workingactorsjourney.com/audible Dakin Matthews around the web IMDb | Wikipedia | IBDb | Actors Access | His former Andak theatre company Highlights Dakin's father as an indentured servant How acting in a Shakespeare play gave him a more intimate knowledge of it The situations when he feels in awe of people How he approaches working with or teaching younger actors The production of Shakespeare he saw that really changed his view of what theatre could be How he ended up teaching at Juilliard and eventually performing in The Acting Company Why he feels acting is his primary skill, above being a teacher or scholar Why there aren't great Shakespeare acting classes online How he approaches playing real people, and the roles that he couldn't quite figure out The out-of-left-field offer to get involved with Rocky the Musical How Dakin has had time to be involved in so much Working on the "Come vial" speech from Romeo and Juliet Why many actors either shy away from or miss the mark with emotional moments Why it's so important to find a group of like-minded creative people Quotes that matter to him Selected People and Items Mentioned Antaeus Theatre Portuguese immigration to Hawaii ACT, San Francisco The Juilliard School USD San Diego MFA (Old Globe Program) Cal State East Bay, Hayward, CA David Ogden Stiers, actor Kurtwood Smith, actor Liz Huddle, actress PCPA Theatre John Houseman, actor, director, and teacher Stephen McKinley Henderson, actor Group 1 at Julliard: Patti Lupone, Kevin Kline, David Ogden Stiers, Mary Jo Negro, Mary Lou Risotti, Sam Tsoutsouvas, David Schramm, Tony Azito, Jim Moody, Gerald Gutierrez, Norman Snow, Benjamin Hendrickson US bombing of Cambodia Jack O'Brien, director Sherlock's Last Case (play) Remington Steele, TV show Henderson Hogan Agency The History Boys (play) Frank Langella as Nixon Rocky the Musical Waitress musical For complete bio and other links, check out the full show notes!
Dakin Matthews is an actor, teacher, and scholar. In this bonus episode you'll hear the mini-Shakespeare master class he gives in episode #12 on one of the speeches from Romeo and Juliet. You'll learn the logic that Juliet uses and how it unravels, where you need to be at the end of the speech if you're performing it, how both male and female actors tend to shy away from emotion, and more. Plus: what do you think of these "classes"? Tell us on Twitter @working_actors or on workingactorsjourney.com. Click here for show notes and more. See additional content on Facebook, Twitter, and Instagram. Juliet in Romeo and Juliet, Act IV, Scene 3 Farewell! God knows when we shall meet again. I have a faint cold fear thrills through my veins, That almost freezes up the heat of life. I’ll call them back again to comfort me. Nurse!—What should she do here? My dismal scene I needs must act alone. Come, vial. What if this mixture do not work at all? Shall I be married then tomorrow morning? No, no, this shall forbid it. Lie thou there. Laying down her dagger. What if it be a poison which the friar Subtly hath minist’red to have me dead, Lest in this marriage he should be dishonor’d Because he married me before to Romeo? I fear it is, and yet methinks it should not, For he hath still been tried a holy man. How if, when I am laid into the tomb, I wake before the time that Romeo Come to redeem me? There’s a fearful point! Shall I not then be stifled in the vault, To whose foul mouth no healthsome air breathes in, And there die strangled ere my Romeo comes? Or if I live, is it not very like The horrible conceit of death and night, Together with the terror of the place— As in a vault, an ancient receptacle, Where for this many hundred years the bones Of all my buried ancestors are pack’d, Where bloody Tybalt, yet but green in earth, Lies fest’ring in his shroud, where, as they say, At some hours in the night spirits resort— Alack, alack, is it not like that I, So early waking—what with loathsome smells, And shrikes like mandrakes’ torn out of the earth, That living mortals, hearing them, run mad— O, if I wake, shall I not be distraught, Environed with all these hideous fears, And madly play with my forefathers’ joints, And pluck the mangled Tybalt from his shroud, And in this rage, with some great kinsman’s bone, As with a club, dash out my desp’rate brains? O, look! Methinks I see my cousin’s ghost Seeking out Romeo, that did spit his body Upon a rapier’s point. Stay, Tybalt, stay! Romeo, Romeo, Romeo! Here’s drink—I drink to thee.
Ray Porter (Tw: @Ray__Porter; IG: @rayporter_narr8s) spent 18 seasons with the Oregon Shakespeare Festival playing all sorts of roles, including many leads, and has since narrated more than 300 audiobooks (including the Joe Ledger series by Jonathan Maberry), all while still appearing on film, tv, and onstage. He has multiple Earphones Awards, has been nominated for Audie awards for his narration, and was named Audible's Narrator of the Year. Just a bit of what we cover in this episode: why you don't want to be a tribute band making audiobooks that SUCK (and how to get better) an acting approach that gives you freedom not believing your own PR technique only up to a point the most important thing to do, especially as an actor and lots more! We even work on a piece of text from The White Devil by John Webster! Post-Shakespeare themes and ideas—very cool stuff, and I'm sure most people are not using this for their classical monologue! Click here for full show notes and links. Get your copy of "12 Top Acting Tips from Season One" See additional content on Facebook, Twitter, Instagram, and YouTube.